LATEST ADDITIONS

Michael Fremer  |  Oct 01, 2010

You could argue the advisability of naming a sophomore effort Everybody Digs Bill Evans but today it’s clear that everybody in fact does, or still does depending on your feelings about that second album’s title.

Michael Fremer  |  Oct 01, 2010

What possessed Amanda Palmer to cover Radiohead playing her "magic ukelele"? Who knows? Did this inspire Eddie Vedder to issue a ukelele-based record? What would Arthur Godfrey think of all of this (look him up if you're too young to know who he is)?

Michael Fremer  |  Oct 01, 2010

Henry Saint Clair Fredericks A/K/A Taj Mahal grew up in Harlem, spent time as a teenager on a Massachusetts dairy farm, attended U of M, gigged around and finally headed west and built a musical career first in Los Angeles and later in the Bay area. The life influences come through in his music: a mix of urban and country blues mixed with world music.

Michael Fremer  |  Oct 01, 2010

 Jenny Lewis and Johnathan Rice were a couple when they made this REM indebted pop/rock album a few years ago. For all I know they are still a couple. I sure hope so because they make exquisite folk/rock music together, with both sharing guitar and bass playing.

Michael Fremer  |  Oct 01, 2010

This is a vinyl reissue of lo-fi home recording genius and underground hero Ariel Pink. These sometimes tuneful lo-fi experiments from a decade ago are interesting and probably very influential but there's no real reason to have them on double 180 gram vinyl given the lo-tech origins of the material.

Michael Fremer  |  Sep 15, 2010

How fast was Miles Davis moving in 1970? Listen to the title track on the double LP recorded late summer 1969 and released the next April and then play the version on the bonus live at Tanglewood CD recorded August 1970. 

Michael Fremer  |  Sep 03, 2010  |  First Published: Dec 31, 1969
Michael Fremer  |  Sep 01, 2010  |  First Published: Dec 31, 1969
Mark Schlack  |  Sep 01, 2010

It was 1965 and Junior Wells was no longer the precocious teenager who had gotten the likes of Muddy Waters, Elmore James and Otis Spann to back him up on his 1953 and 1954 hit singles. Now 30, he was a fixture of that generation of electric Chicago bluesmen. He toured, and worked regularly at Theresa’s on the South Side. And he was about to make an album that has long been a staple of any modern blues collection.

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